Black Cat does #IndieAuthorChat

I was the guest for the Alliance of Independent Authors’ Twitter chat on Tuesday 6th August 2019. The chat takes place every Tuesday, using the hashtag #IndieAuthorChat, and is hosted by the lovely Tim Lewis of Stoneham Press. We had a great hour talking about proofreading for indie authors. If you weren’t able to join us, you can catch up using the Twitter Moment or read, below, a transcript of the questions Tim asked and my answers:

Q1: How does proofreading differ from editing?

A1: Proofreading is a type of editing, but it is a lot less interventionist than a copy- or line-edit. I think of proofreading as making the smallest possible changes to make the text as correct as possible.  Proofreading should occur right at the end of the publishing workflow – it’s the final polish and is not a substitute for a thorough self-edit and professional copy-edit. The SfEP has a handy fact sheet to compare proofreading and copy-editing.

Q2: How much difference does format (print, eBook, etc) make in terms of proofreading a manuscript?

A2: It shouldn’t make a huge difference. It will be more about what the author finds easiest to work with and how much labour they want to put in to checking and adopting changes. Indie authors tend to ask me to mark up a Word doc, which isn’t proofreading in the traditional sense (that’s checking typeset proofs) but is easy to manage. Don’t be afraid to ask for a paper or PDF proofread if you want one – a properly trained proofreader will have the ability to do this. The cost will probably be higher but they will be checking the text and the format in as close to its final state as possible.

Q3: What is a style sheet and why is it important in editing and proofreading?

Black Cat Editorial Services_ talking proofreading on #IndieAuthorChatA3: A style sheet is SO IMPORTANT. A style sheet is a document that collects all your style preferences. You can see a very basic example on my website. It is essential for editing and every editor you work with should provide one for you. If they don’t, ask to see what they compiled. Style sheets are needed to ensure consistency throughout the text, and provide the author with an at-a-glance summary of what has been done and why. I extend mine to record character and location details, and often include a chapter-by-chapter synopsis to help me keep track of events. If you engage a proofreader, it is in your interests to provide them with the style sheet the copy-editor compiled for the project. It’ll save a lot of time and possibly confusion, and should make proofreading cheaper for you.

Q4:  How do you work with an author – what is the process of getting your manuscript proofread like?

A4: The process is quite straightforward, but I need the author to give me as much information as possible, really. Be upfront about what you are looking for. Send me a sample so I can see what needs to be done. If I don’t think a proofread would best serve you and the project (i.e. it needs a deeper level of edit) I will tell you. There is a small amount of paperwork involved (I ask clients to sign a project agreement) and I will require a deposit to book my time. Proofreading is usually(!) straightforward so the client may not hear from me until I’m finished. However, I’ll email if I do need to consult on something that’s not easily dealt with. I’ll send over the marked-up document and the style sheet, and a sign-off form for the project. I’m available to answer any related questions and will do my best to assist.

Q5: How much should an author pay for proofreading and what factors affect the cost?

A5: This is a tricky one. It depends. If the text is in excellent shape, and the client provides a comprehensive style sheet, I’d charge around £7 per 1,000 words. If we are looking at something complex that needs to be done within a tight time frame, I’d charge £10–12 per 1,000 words. It’s all about time. The longer it takes, the more I charge. My pricing isn’t at the top end of what you could expect to pay. The SfEP suggested minimum is £25.00 per hour. Format, time frame, complexity, level of intervention – these will all affect the cost.

Q6: What is one thing you wish all authors understood about proofreading and editing?

A6: What a question! Well, one of the important things for me is that authors understand that we are a team. Don’t be afraid to give me as much information as you can. Tell me what you want to achieve. If I don’t know, I can’t tailor my editing to support you.

Q7: How can people find out more about Hannah McCall and Black Cat Editorial Services?

A7: You can check out my website (https://blackcatedit.com/) or follow me here on Twitter (I’d love it if you did).


Got your own questions about proofreading? Feel free to leave a comment below. Thinking about joining ALLi? You can find out more here.

The Black Cat monthly round-up: April 2019

April is the start of a new financial year for me, and I’ve implemented a few changes. I’ve decided to get serious about tracking productivity – I’ve signed up for Toggl so I can record the time spent on projects and related tasks, and it should make clear how much of the working day I waste scrolling through Twitter or playing with the cat. Now I’ve settled into the Black Cat Editorial Services brand, I’ve set up a spreadsheet to track enquiries I receive and where the enquirer found my details. I’m hoping to work out where my marketing efforts are best focused – at the moment it looks like joining the Alliance of Independent Authors (ALLi) was a good step.

Black Cat Editorial Services_ April round-upWhat I’ve been working on

I worked on four projects in April. I completed the proofread of a fiction novel about an unsolved murder and moved on to the biography of a Spanish composer. I followed the biography with some historical fiction about life and politics in a small Welsh town, and finished the month by proofreading a collection of accounts about the authors’ relationships with God and their religion. I absolutely love how diverse my work is.

What I read for fun

OK, I’m putting this here because it was enjoyable to read, even if I approached it as a source to inform my editing practice: Writing a Novel by Richard Skinner. Skinner is a creative-writing teacher at the Faber Academy, and it shows. I highly recommend this quite slim volume – it’s full of excellent advice and techniques, and its tone is positive and encouraging.

I managed one fiction read for this month: The Bone Season by Samantha Shannon. (I seem to keep coming to popular series late.) For a long book – 452 pages – it rattles along at a decent pace, and I was swept up with it.

Blog posts

I shared a few blog posts this month. The first was Denise Cowle on why the Grammar Police aren’t cool. I agree with her – and particularly on her point about being kind. Aeryn Rudel, writer of the Rejectomancy blog, has been writing and posting excellent microfiction of late, and his blog post on the benefits of producing such pieces is very interesting. I think he is spot on about it being a brilliant way to practise self-editing.

I’ve been taking part in the new Twitter chat (#IndieAuthorChat) organised by ALLi (Tuesdays, 8pm UK time) and it has been very enjoyable – I’d recommend joining in. One of the best things I have picked up from it is Alison Morton’s tracking grid, which she has kindly shared on her blog. It’s a simple, straightforward way to keep track of a novel’s timeline and summarise the events that have occurred.

Looking ahead

The West Surrey and North Hampshire SfEP local group is meeting mid-May, and I’m looking forward to catching up with the other members. And as if my editing work wasn’t enough, I’m undertaking my first book review for the SfEP’s Editing Matters magazine – I’m a bit nervous about it but I think it will be fun.

The Black Cat monthly round-up: November 2018

Black Cat Editorial Services_ November round-upWhere is the year going? It seems far too early for this to be the penultimate round-up for 2018. We had a guest at Black Cat HQ for some of November: Mini was back with us for ten days while her dads had a lovely time on holiday in Cyprus. I thought about that occasionally as I trudged around in the mud and rain with three dogs.

Professional news

I applied to join the Alliance of Independent Authors (ALLi) as a Partner Member. ALLi (pronounced like ‘ally’) is a professional association for authors who self-publish books. I’ve turned to ALLi resources and checked their Watchdog reports on many occasions. I enjoy working with independent authors, and so it seemed a natural step to become a member. As a potential Partner Member I was vetted by the Watchdog Desk, and I’m pleased to be able to say that I passed (with a lovely report summary that rather made my week). You can check out my member profile here.

What I’ve been working on

I started November with a proofread of a novel about a woman pursuing her dream of opening a bookshop. It was an interesting reflection on what is important in life and on taking risks in order to achieve what you really want. The rest of the month was taken up by a fictionalised account of the major events to befall European royal houses in the last century or so.

What I read for fun

I started Tombland by C. J. Sansom in October, but I finished it, and the devastating last act, in November. To get into the (just after) Halloween spirit, I picked up a copy of The Silent Companions by Laura Purcell. I found it genuinely creepy, and the companions are a terrifying concept, but I have some misgivings about the association of physical deformity with evil.

It’s an interesting coincidence that my next read was Mortal Engines by Philip Reeve – the themes around facial disfigurement in this are extremely powerful. I read most of Mortal Engines in one night, and I am surprised the book passed me by when it was first published and I’ve only found this world now there’s a film to be released shortly.

My last read of this month was Crime in the Community by Cecilia Peartree. It’s fast paced, funny and enjoyable – exactly what I needed after a run of fairly dark books.

Blog posts

I published one post on the Black Cat blog this month: a discussion of four punctuation problems I see in almost every manuscript I work on – four punctuation problems that have simple fixes. Sometimes it can be hard to get your head around punctuation and style rules, but these are easy wins everyone can benefit from.

As usual, I shared a few blog posts on Twitter. Perhaps the most useful for writers is Louise Harnby’s advice on presenting a story to be read, rather than as if it is to be watched.

Looking ahead

There’s one West Surrey and North Hampshire SfEP local group meeting left for 2018 – it’s a morning meeting where we will have tea/coffee and cake and celebrate the festive season.

I expect to slow down on the work front, but I will still be available by email for most of the Christmas period.